Bach Mass in B Minor
Rilling's third recording of this work is leaner, more highly distilled and generally first-rate, though his characteristic restraint may still exasperate some
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Sebastian Bach
Label: Hänssler
Magazine Review Date: 5/2000
Media Format: CD or Download
Media Runtime: 113
Mastering:
DDD
Catalogue Number: 92 070
Tracks:
| Composition | Artist Credit |
|---|---|
| Mass |
Johann Sebastian Bach, Composer
Andreas Schmidt, Bass Gächinger Kantorei, Stuttgart Helmuth Rilling, Conductor Ingeborg Danz, Mezzo soprano James Taylor, Tenor Johann Sebastian Bach, Composer Juliane Banse, Soprano Sibylla Rubens, Soprano Stuttgart Bach Collegium Thomas Quasthoff, Bass |
Author: Jonathan Freeman-Attwood
There is an insatiability to Rilling's recording career reflected in this, his third account of Bach's great Mass. Rilling indeed explains why he has a new perspective on the work from that of both his previous readings, in 1977 (CBS, 12/77R) and 1988 (Intercord), neither of which is still available. Part of his justification for this new release is his unrivalled immersion in Bach over the years, and the way a heightened 'comprehensive knowledge' shapes his grasp of the architectural essence of a work which he views as an integral whole, while also drawing attention to articulation, dynamics etc. The approach is thorough, the appetite is impressive and he tells us how 'transparency' - meant both texturally and abstractly in 'the arc of tension' - enters the hierarchy of concerns. There is no question that Rilling knows his materials (he wrote a book on the work) and there is a sense of real stature in what he sets out to achieve. What has actually changed over the years in meaningful musical vision, rather than merely style-awareness or specific scientific redress, is less easy to assess.
Judging by this new Mass in B minor, there are generally fewer mannerisms (one gratuitous pull-up in the first Kyrie, some exaggerated accentuation and a curiously protracted 'Benedictus' flute obbligato aside), a leaner concept mirrored in a choir of six-per-part, a far smaller modern-instrument ensemble than one would expect of the Stuttgarters and brisker tempos ('Et in terra pax' races inexorably ahead and 'Et in Spiritum Sanctum' is as fast they come). How much of this, I wonder, is instinct or a self- conscious, fashionable distillation of 'period' thought? What can be said instantly in its favour is that Rilling grasps the nettle, delivers the concertante rhythmic energy with supreme and exhilarating precision, the stile antico choruses with measured aplomb and purpose, and the solo movements are all superbly executed by outstanding singers: Juliane Banse sings 'Laudamus te' with marvellous assurance and terrific bottle. Sibylla Rubens is also on top form and her partnership with Ingeborg Danz in the 'Et in unum Dominum' is a vocal feast. Both basses would grace any Bach recording you wished to hear, and even James Taylor's slightly careful tenor fits the bill.
On the debit side is the age-old problem with Rilling's Bach for so many listeners - his esteemed ability to focus rarely produces a memorable poetic insight. The duets suffer from contrived over-dotting and constantly chopped-up phrasing, a stubborn refusal to imbue the music with an instant emotional response that doesn't rigidly emanate from his clear structural sense of the overall momentum. The 'Qui tollis' and the 'Crucifixus' certainly glow and unfold with mesmerising control but they also appear profoundly hollow. Reconciling this dichotomy of the respect one has for many of Rilling's qualities with the exasperating need for a greater expressive engagement will be more problematic for some than others. It is not mere politeness that makes me say that, for many, Rilling will come as close to providing an all-round excellent version as one can get. For all the chromium plate, there are some dazzling movements, such as the 'Et resurrexit' and 'Et expecto' (with breathtaking anticipation), which leaves you fizzing like a bottle of shaken-up tonic.
The choral singing is in the top bracket. So, highly recommended for selected clientele - particularly those who know Rilling's measure - but I suggest circumspection to those seeking a more endearing connection with Bach.'
Judging by this new Mass in B minor, there are generally fewer mannerisms (one gratuitous pull-up in the first Kyrie, some exaggerated accentuation and a curiously protracted 'Benedictus' flute obbligato aside), a leaner concept mirrored in a choir of six-per-part, a far smaller modern-instrument ensemble than one would expect of the Stuttgarters and brisker tempos ('Et in terra pax' races inexorably ahead and 'Et in Spiritum Sanctum' is as fast they come). How much of this, I wonder, is instinct or a self- conscious, fashionable distillation of 'period' thought? What can be said instantly in its favour is that Rilling grasps the nettle, delivers the concertante rhythmic energy with supreme and exhilarating precision, the stile antico choruses with measured aplomb and purpose, and the solo movements are all superbly executed by outstanding singers: Juliane Banse sings 'Laudamus te' with marvellous assurance and terrific bottle. Sibylla Rubens is also on top form and her partnership with Ingeborg Danz in the 'Et in unum Dominum' is a vocal feast. Both basses would grace any Bach recording you wished to hear, and even James Taylor's slightly careful tenor fits the bill.
On the debit side is the age-old problem with Rilling's Bach for so many listeners - his esteemed ability to focus rarely produces a memorable poetic insight. The duets suffer from contrived over-dotting and constantly chopped-up phrasing, a stubborn refusal to imbue the music with an instant emotional response that doesn't rigidly emanate from his clear structural sense of the overall momentum. The 'Qui tollis' and the 'Crucifixus' certainly glow and unfold with mesmerising control but they also appear profoundly hollow. Reconciling this dichotomy of the respect one has for many of Rilling's qualities with the exasperating need for a greater expressive engagement will be more problematic for some than others. It is not mere politeness that makes me say that, for many, Rilling will come as close to providing an all-round excellent version as one can get. For all the chromium plate, there are some dazzling movements, such as the 'Et resurrexit' and 'Et expecto' (with breathtaking anticipation), which leaves you fizzing like a bottle of shaken-up tonic.
The choral singing is in the top bracket. So, highly recommended for selected clientele - particularly those who know Rilling's measure - but I suggest circumspection to those seeking a more endearing connection with Bach.'
Bach Mass in B Minor
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